The Princeton University Orchestra presents a program of works by David Del Tredici and Sergei Rachmaninoff. This program will be presented on December 3 & December 5. Free tickets are required to attend and are available AT THIS LINK. In accordance with university policy at this time: Please note that performers might not be wearing masks during this event. The new protocol (updated November 2021) requires unmasked performers to undergo COVID-19 testing three times in the week leading up to the event. All concert attendees are required to be fully vaccinated against COVID-19 and to wear a mask indoors. We are unable to allow entry to unvaccinated children.
The Princeton University Orchestra presents a program of works by David Del Tredici and Sergei Rachmaninoff. This program will be presented on December 3 & December 5. Free tickets are required to attend and are available AT THIS LINK. In accordance with university policy at this time: Please note that performers might not be wearing masks during this event. The new protocol (updated November 2021) requires unmasked performers to undergo COVID-19 testing three times in the week leading up to the event. All concert attendees are required to be fully vaccinated against COVID-19 and to wear a mask indoors. We are unable to allow entry to unvaccinated children.
8 am ET: Wigmore Hall presents Michael Collins & Michael McHale. The clarinetist and pianist’s program includes Joseph Horovitz’s Sonatina which premièred at Wigmore Hall in 1981. Widor’s
Introduction et rondo was composed in 1898. At its première in 1935, Bax’s clarinet sonata was actually played twice; it was repeated in the program when the sheet music for a work by Lennox Berkeley was lost in the post. Each of the four
Time Pieces by Robert Muczynski highlights a characteristic of the clarinet in terms of range, technical prowess, tone color, and expressiveness. Register, view here and on demand for 30 days. LIVE
Joshua Kosman March 2, 2021Updated: March 2, 2021, 6:32 pm
Composer David Del Tredici (left) with soprano Barbara Hendricks and conductor Seiji Ozawa during rehearsals for “Child Alice.” Photo: Chronicle file photo
One night in 1983, I went to an orchestral concert with a couple of composer friends. The headline piece on the program was a recent work by an increasingly prominent living composer, and we didn’t care for it at all.
So we responded in the way the situation seemed to call for. We booed loudly and lustily, making sure the entire hall registered our displeasure.
It’s not easy to tell that story without making my buddies and me sound like jerks, and there’s probably some truth to the charge. But it was also the first and last time that I ever did such a thing, and I can remember quite clearly the mental calculus that went into the decision.
I’ve covered arts and entertainment and written humor columns at The Day for almost a quarter-century. What I’ve learned is how privileged I’ve been to explore for readers an incredibly diverse, active, and creative cultural area – from local music clubs, galleries and museums to numerous nationally famous authors, performance organizations and the array of talent that flows through the Garde Arts Center, and Mohegan Sun and Foxwoods casinos, and much more.
Rick Koster
I’ve covered arts and entertainment and written humor columns at The Day for almost a quarter-century. What I’ve learned is how privileged I’ve been to explore for readers an incredibly diverse, active, and creative cultural area – from local music clubs, galleries and museums to numerous nationally famous authors, performance organizations and the array of talent that flows through the Garde Arts Center, and Mohegan Sun and Foxwoods casinos, and much more.